The Legend of Jigsaw A Saw Prequel
by Stuntman Mike
Summary: Two brothers wake up in a room and have no idea where they are. As they struggle to escape the chains that bound them, the story of John Kramer's descent into becoming the psychotic Jigsaw is finally, and fully told. This is a treat for any Saw fan.
1. Part I: Jay and Sean

THE LEGEND OF JIGSAW

WRITTEN BY GRAHAM WALDROP

INT. BLACK

A figure in a small space wakes up having no idea where it is. It begins to breathe. There are sounds of it banging around. There are screams. It is a woman. She begins to cry, after a moment and screams again and then continues to beat on the walls. She stops and just continues to breathe quietly and cry. She hits something that is not a wall and sounds like an electronic device. There are sounds of her breathing becoming more rampant. She looks over to the right and sees a flashlight. There is the sound of the flashlight turning on. The light illuminates the area, as her environment is shown. She is in a small coffin. The flashlight shoots over to the right and there is a tape recorder on the wall. She grabs it and presses the play button.

JIGSAW/BILLY

**Hello** (name bleeped out), **I want to play a game.** **You might not be able to tell where you are. You're in a place similar to the place that you've kept those important to you in. You have alienated them, causing them to abandon you because of the way you isolated them. Now it is you, who is in isolation. There are many ways to lose this game, (name bleeped out), but there is only one way to win. Somewhere inside of the coffin there is a lock, there is also a key to that lock**,(name bleeped out), **that can free you**. **You'd better hurry though, the coffin in which you are in is located inside of a room. Inside of the room, there is a door that is on a spring timer. Once it is four o' clock, **(named bleeped out), **the timer will go off and that door will shut forever. The question you have to ask yourself is this, which key is the key to your freedom?** (the flashlight pans up showing that there are many keys attached to the top of the coffin. She begins to cry even more) **If you can find the key in time **(name bleeped out), **then I promise you that when you are free, you can look forward to seeing the ones that you have claimed are so important to you. If you don't, then you'll only have one thing to look forward to… death. By the way, that flashlight that you're holding doesn't have much power left in it, so I would save its energy if I were you.** **Or you can take the quick and easy way out,** (named bleeped out), **you can choose to end your suffering now, but the problem is this: Can you reach the knife that is so far away from you?** **I'm giving you a chance,** (name bleeped out), **a chance to end****your life the way it should end, alone**. (tape turns off)

She begins to breathe hard, as she looks around at the keys. She begins to panic and begins to kick at the side of the coffin, she begins to squirm around, her entire body is almost in a convulsion as a wave of terror sweeps over her as it feels like the small coffin is closing in on her. She cries even more and screams again. She stops and begins to breathe hard again, she then goes into another fit and squirms around knocking on the coffin, beating on it, kicking it and screaming. Her breathing becomes so loud and she doesn't know what to do. She stops and looks up at the keys. She looks around quickly for a lock and sees that it's at the end of the coffin on her the right side of her body. She looks back up at the keys, there are at least twenty of them attached to the top of the coffin. She begins to cry and goes into another fit. She drops the flashlight. She screams once, and then again, and again. With each scream it gets louder and louder. She calms down again, and tries to reach the flash light. She does and points it back up to the top of the coffin. She rips a key off of the wall. She tries to move towards the bottom of the coffin but can't and gets stuck. She begins to breathe hard again and sobs quietly. She gets to the point where she's stuck in the middle of the coffin. She screams one loud scream and then another and another. With each scream, her voice gets louder. She has dropped her flashlight. She keeps kicking and banging around constantly. Suddenly the flashlight begins to dim.

WOMAN

No, no, no.

The flashlight continues to fade and then completely goes out.

WOMAN

No.

She continues to scream as there is nothing but the sound of her screaming, crying, breathing and her banging around. Each scream is louder than the next.

SCENE I

INT. ROOM

The room is dark. Two figures can barely be seen in the middle of a room. Slowly fade in from the ceiling to one of the figures who lies unconscious. The figure that is focused on wakes up. He sits bolt upright. He looks around, terrified.

He begins to crawl forward, with every movement there is the sound of a chain dragging on the floor. He gets to the point where he can't move any more and is restrained by something. He winces in pain, not expecting that. He pulls at his ankle and feels the chain. He pulls at it some more, in desperation. He stops. He turns around and crawls the other way. He feels some more chains but they seem to be suspended in mid air. He feels down one of the chains and feels something new. He jumps a little.

VOICE

Who is that? What are you doing?

SEAN

Jay?

JAY

Sean? Is that you?

SEAN

Yeah, what the fuck is happening?

JAY

I don't know, I can't move my legs.

SEAN

What?

JAY

I can't move my legs or my arms. What the fuck is going on?!

SEAN

I don't- I don't know.

JAY

I can't see shit in here, it's so dark. Can you move?

SEAN

Yeah I can move, but not too far, I've got some chain or something on my ankle.

SILENCE

LIGHTS IN THE ROOM TURN ON ONCE THEY STOP TALKING. THEY ARE BLINDED BY THEM.

SEAN

Fucking shit, oh god. (responding to the brightness of the light)

JAY

Ah. (winces)

SEAN

Holy shit Jay, what the fuck?

They are in a very small room, it is just open space. Jay has four shackles connected to both his wrists and ankles. One of the links of the chain connects to one of Sean's ankles. Another link that is connected to Sean's chain is attached to the wall on the other side of the room. Jay is basically hanging in mid air, suspended by the chains. In front of them, sits a TV. The TV turns on with a loud sound, Sean quickly turns and looks at the TV. A puppet appears on the screen. He slowly turns his head towards them.

JIGSAW/BILLY

**Hello Jay** (looks at Jay) **Hello Sean** (looks at Sean) **you might not remember me, but I most certainly remember you. Jay, you have done nothing in the past three years but either use or sell drugs. You seem to be friendlier to the thing that is going to eventually kill you, then the person that every day tries to save your life. You have brought your brother here on your own will, as you suffer so shall he. Jay, on this night you shall either be saved by your brother, or for the first time he can stand up for himself and finally leave what is truly a pathetic waste of human life. You might not know why you are in the situation you are in but do not worry, your lives are being used for something far more important then you can possibly imagine. I warn both of you, you have until 4 on the clock to get out this place, if you do not then the door to your right shall shut and this room shall become your tomb, and I will leave you in here to rot. Remember, X marks the spot for your freedom. Live or die? Make your choice, and let the game begin.** (The TV turns off)

SILENCE

SEAN

Ok, look, he said X marks the spot, so that has to mean something. I'm going to look around.

Sean gets up and winces a little as his threshold to move is very small. He sees a small box to his left. On the BOX are the words, "OPEN ME." He tries to reach it but struggles.

JAY

You see anything?

SEAN

Yeah! There's a box over here.

JAY

Can you reach it?

SEAN

I'm trying. (he lies down on his stomach and reaches for it but his fingers only catch the lip of the box.) Goddamn it! (he grasps the lid again and has a firm hold on it, he pulls it over towards him)

JAY

You got it?

SEAN

Yeah.

(he opens the box)

Inside are two envelopes, and a mirror. One envelope says, "The Key to your freedom." Another says, "Rules of the game."

JAY

What's going on?

SEAN

I… I opened the box.

JAY

What's in it?

SEAN

Will you relax?

JAY

How can I relax when these fucking chains have me hanging over the fucking ground? (silence) What's in the fucking box?

SEAN

Will you shut the fuck up, for just one second?

SEAN (picks up the mirror and looks at himself, he puts it to the side, he picks up the envelope that says rules of the game. He opens it. There is a letter. It reads, (Jigsaw V.O.) "**This is your wakeup call Sean. For years you have protected your brother, you have stuck your neck out for him and all he does to repay you is absolutely nothing. Inside the other envelope is your key to freedom, but I warn you, it is not what you expect. Those chains that bound him** (he looks over at Jay) **are slowly pulling him apart. You must find the keys to those chains and of course, your own. The clues are all around you, but you do not have to be the one who finds them. I'll give you a hint, it's one of the most important things that both of you possess. How** **far are you willing to go to save the very thing that has destroyed your life?"**)

Sean reaches down and opens the other envelope. A pair of pliers falls out of it, so does a scalpel, a tissue falls out of there as well.

JAY

What is it?

SEAN

I don't know. (Sean looks at the items for a minute and then gets very angry) Fuck this shit! (He throws the pair of pliers across the room and then throws the mirror as well. He falls down next to Jay with his head in his hands.)

JAY

What now?

SEAN

I don't know Jay. I DON'T FUCKING KNOW!

SILENCE.

SEAN (looks around, he sees the other note on the ground. He crawls over to it, he picks it up and opens the tissue, it reads, **"There is one more thing you can do to win this game, and that is to kill your brother. End his suffering and you shall be free to go. There are rules to every game Sean, and I abide by my rules, you have my promise that as soon as I see that he is dead, you shall be free.")**

Sean looks over at Jay actually contemplating on whether or not he should kill him or not. He looks down and sees the scalpel. He looks back at Jay. Jay looks over at him. Sean looks away quickly.

JAY

What are you doing?

SEAN

I'm just thinking.

JAY (Struggles to look over to his right.)

What is that?

SEAN

Another note.

JAY

What does it say?

SEAN

Just some more bullshit from whoever put us here. (he looks up and sees a digital clock on top of the television, it reads 2:37.) We're running out of time.

JAY

Why, what time is it?

SEAN

2:37.

JAY

WHAT THE FUCK DO YOU WANT FROM US? LET US GO!

SEAN

SHUT THE FUCK UP! (he walks over to him quickly and stands right over him)

Listen to me you fucking faggot. You're the whole reason we're here and I don't care that you're in chains. You have to help us get out of here. Now look for an X and shut the fuck up.

SILENCE.

Jay cocks his head a little bit and looks around the disgusting room. He puts his head back again. Sean looks around as well. He looks past Jay on the walls and doesn't see anything resembling an X. He sits back down.

SEAN

Goddamn it! What the fuck are we supposed to do with this shit?

JAY

I don't know.

JAY

Who the fuck would do this to us?

SEAN

I don't know. Can you remember anything?

JAY

Can you?

SEAN

No, I asked you first, do you remember or not?

SCENE II

FADE OUT TO A CAR DRIVING UP A HILL AND LETTING JAY OUT.

(Jay gets out of the car and shuts the door, he staggers off towards the house.)

Jay continues to walk towards the house, drunk as shit. He gets near the door and trips over the step.

JAY (laughs, he stays on his knees)

Shit (laughs again)

He stumbles into the door, The lights are off in his house. He walks very slowly. He goes into the kitchen. He stumbles around some more and opens a cabinet. There are glasses inside, he gets one out and walks over to the refrigerator. He gets some water out of it and tries to pour the water into the glass but most of the water falls to the ground, missing the empty glass. Some water does go in there though and when enough does he raises the glass shakily to his mouth. He drinks.

He walks out of the room and looks around. He then walks down the stairs very slowly. He walks over to the couch and flops down on it. After a moment he gets up and starts walking over towards the hallway. In the hallway there is a small door. Jay walks near it and plans on walking past it. Once he walks right next to it, the door opens very quickly and a figure in red leaps out and grabs him.

CUT TO BLACK.


	2. Part II: Regret

SCENE III

JAY

That's all I remember.

SEAN

That's all you remember?

JAY (Cut back to them)

What about you?

SEAN

I don't know. I'm just sick of your bullshit.

JAY

Whatever man you can go fuck yourself.

SEAN

You fucking cocksucker, let me see if I can get this through your head, (stands up again) you're the whole reason we're here! You just had to keep doing this shit and you know what? That fucker who ever the hell he is, he's right. You don't do shit for me. I do everything for you.

JAY

You don't do shit for me.

SEAN

You're fucking pathetic, you know that?

JAY

Oh, I'm pathetic?

SEAN

Yeah, you're pathetic. You're a pathetic fucking junkie.

(pause)

JAY

You live just as much of a fucked up life as I do.

SEAN

That's bullshit.

JAY

Bullshit? You try to help me with my problems but you never focus on what's good for you, and because of that, look where we are now.

SEAN

This isn't my fault, have you been listening to me?

JAY

Yeah, I've listened to you. But obviously this guy thinks you have as much a right to be here as I do.

SEAN

SHUT THE FUCK UP!

SILENCE

SEAN (looks away)

Ever since she went missing you've never gotten over it.

JAY

What?

SEAN (walks over to him)

Is that the whole reason you've been doing this?

JAY

Doing what?

PAUSE

JAY

She had nothing to do with it.

SEAN

Look, I know what you're going through. But what the fuck good does it do to repeat what she did? You're going to end up just like her! Some homeless drug addict on the fucking street. God knows what the fuck she's doing right now, or if she's even alive.(sits down next to him) But it's no excuse to be doing what you're doing right now. You've got to stop this. You've got to stop it, or you're going to end up just like her.

JAY

You just don't understand.

SEAN

I do understand, that's the thing that you just don't get. I am in exactly the same position that you are in, except it's worse. Now, you're involved in this and I can't stand seeing you the way you are any more. And just because she left is no reason for you to start using this shit every fucking day.

SILENCE

JAY

She meant everything to me, and when she left… I just couldn't do it, I just couldn't do it any more.

SEAN

Couldn't do what?

JAY

I just couldn't do anything.

SEAN

SILENCE

SLOWLY FADE OUT.

SCENE IV

CUT TO JAY AND SEAN STANDING TOGETHER IN A DOG PARK. THEY WALK PAST A BALD MAN SITTING ON A BENCH, THEY STOP AFTER THEY WALK BY HIM.

SEAN

How long are we staying here?

JAY

Not long. (sighs, pause)

You remember the first time we came here? (no response, they both look down, another uncomfortable pause)

CUT TO THREE YOUNG CHILDREN RUNNING TOGETHER.

YOUNG JAY

You can't catch me!

YOUNG SEAN

Come back here!

YOUNG SISTER

(laughs, she runs up and catches Jay and tackles him)

I got you!

They all laugh as they are all on the ground together.

CUT BACK TO PRESENT TIME.

SEAN

Come on, let's go.

JAY

No, not yet.

SEAN

C'mon Jay.

JAY

You're just gonna give up that easy?

SEAN

She's not here!

JAY

Then where the fuck is she?

SEAN

Who fucking knows?

JAY

Fuck off!

SEAN

No you fuck off! You just don't get it do you?

JAY

Get what?

SEAN

She's gone!

JAY

Goddamn it, she's your fucking sister!

PAUSE

SEAN

She's not our fucking sister any more! Can't you realize that? Can't you just see that now, she's nothing!

JAY

She's a fucking human being, man. (pause)

SEAN

I'm leaving, are you coming? (Jay doesn't reply) Are you coming or what?

JAY

No, I'm going to stay here. (softly)

Sean walks off and leaves Jay.

SCENE V

Cut back to them in the room.

JAY

Hey Sean, I need to tell you something.

(Sean is facing away from Jay) I fucked up everything. I deserve this. I deserve it, but you don't Sean. I couldn't ever get over anything. I needed something to get away from it all. I never even thought about you or what you did. I never once considered that doing this to myself was hurting you. You were always there for me man, and I was just too much of a fucking idiot to see it. I just want to let you know that no matter what happens, even if we both die, I love you.

PAUSE

Sean, (after the pause) turns to face Jay

SEAN

I'm sorry Jay, shit like this doesn't happen everyday. (they both smile slightly) I was just thinking about that time at the park a couple of months ago. I take back what I said. I do care about her, you know?

JAY

Yeah, I know. I miss her.

SEAN

Me too, (looks up) me too.

SILENCE.

JAY

Holy shit, Sean use that shit to pick the lock.

SEAN (looks down)

Why didn't I think of that? (picks it up and puts the scalpel inside the lock and begins to try and pick it. Sean struggles as Jay looks over. After a while Sean stops, he runs over towards Jay, Jay turns his head quickly to watch what Sean is doing, Sean starts to pick at all four of Jay's locks. He tries one and then the other and then another and then the last.) GOD FUCKING DAMN IT! (he throws down the scalpel)

(He sees a security camera watching them) FUCK YOU!


	3. Part III: John Kramer

SCENE VI

(cut to a TV screen with the two brothers on them. Fade back as a bald man watches them, he calmly looks over at the clock it reads 3:00, he looks back at the screen)

He walks over towards a mirror, his face is now revealed. It's Jigsaw. He looks at himself in the mirror for a moment, fade out.

SCENE VII

Cut to Jigsaw in a hospital room. A doctor walks into the room.

DR. LAWRENCE GORDON

John, we have your test results. (Jigsaw does not respond he's very pale)

PAUSE

DR. GORDON

John, you have cancer.

PAUSE

JIGSAW

What, what kind?

DOCTOR GORDON

The cancer has moved from your colon to your brain. (Jigsaw's face is expressionless)

The only thing I can think of that could slow the process would be chemotherapy.

JIGSAW

When would we start?

DR. GORDON

We should start in the next few days.

JIGSAW

Am I going to die?

DR. GORDON

It's more a matter of when not if, I'm afraid.

Someone enters the room.

ZEP THE ORDERLY

Dr. Gordon-

DR. GORDON

Zep, can we have a minute please?

ZEP

Sorry doctor. (turns around and leaves)

Cut to Zep who waits outside the room, his back is to the wall, he turns around and peers inside the room.

CUT BACK TO THE INSIDE OF THE ROOM.

PAUSE

JIGSAW

How much time do you think I have?

DOCTOR GORDON

I honestly don't know. It could be anywhere from one month to one year. But with the chemo your chances do improve so I suggest that we get you started on that.

Jigsaw sits, stupefied he looks down not really able to comprehend what is happening to him.

DOCTOR GORDON

John, I'm going to do everything I can for you while you're here.

PAUSE

JIGSAW

I know you don't care about me, Doctor Gordon. (looks up) In the end it really doesn't matter to you whether I live or die as long as you walk out of this hospital with more money in your pocket. You and I both know that the so called comforting words that you say mean absolutely nothing. You are not going to do everything you can to save me because there is nothing you can do to save me.

DR. GORDON

I'm sorry, John, I'll, I'll be outside. (gets up and leaves)

Jigsaw looks down again. He rubs his hand on his forehead and then leans back in his chair with both hands on his forehead.

INT. HOSPITAL

SCENE VIII

An orderly is walking down the deserted halls. He turns right and then knocks on the door, he has a tray of food in his hand. A voice can be heard.

VOICE

Come in.

The orderly comes in.

ZEP

Do you mind if I turn this light on Mr. Kramer?

JIGSAW

No, I don't mind. (Zep turns on the light)

ZEP

How are we doing?

JIGSAW (lying on his side, facing away from Zep, as he speaks he turns over and faces him)

Never better. (he coughs)

ZEP

Where do you want this, Mr. Kramer?

JIGSAW

You can set it aside, thank you. Is something bothering you today, Mr. Hindle?

ZEP

Well, I've been hearing things.

JIGSAW

What sort of things?

ZEP

All the doctors are screwing around with their wives.

JIGSAW

Does this affect you in any way?

ZEP

Well, I've just always wanted a wife and well so far I haven't you know found one. (Jigsaw nods his head up and down) This won't happen when I'm a doctor.

JIGSAW

So, you're saying that if you indeed did have a wife, that you would be faithful to her?

ZEP

Of course I would be.

JIGSAW

But when you truly look at the way the human mind is constructed, it always wants more.

ZEP

What do you mean?

JIGSAW

I mean, Mr. Hindle, (coughs) that even though it's not right that doesn't mean it can't be done. That they take their wives for granted and you don't even have one, that makes you feel unappreciated, doesn't it?

ZEP

It does. I've got no one, no girlfriend, no friends, nothing. And seeing these people not even care about what they have when I've got nothing-

Do you need anything else, Mr. Kramer?

JIGSAW

Yes, I'm some what of an artist. I was wondering if you had a spare pad and pen that I could borrow to keep myself busy during the day.

ZEP (gets up)

Of course, I'll bring you one in a minute. (Jigsaw smiles at him, as he leaves. Center in on Jigsaw's face as his smile becomes a frown)

FADE OUT

SCENE IX

INT. JIGSAW'S ROOM

Jigsaw has his pad and pen and is drawing. The camera slowly rotates around him as he draws. The camera continues spinning slowly around him. He continues to draw. Cut to what he's drawing. It's him in his bed talking to Zep. Cut back to the camera slowly rotating around him. He puts down the pen and pad calmly, he turns off his light and goes to sleep.

FADE OUT.

INT. HOSPITAL

SCENE X

A man is on a gurney and is being wheeled through the hospital. They go into John/Jigsaw's room. There are two doctors and a nurse that wheel him into the room.

DR.GORDON

Mr. Kramer? (Jigsaw looks up at them and puts his pad down) Would it be all right with you if this man stays in your room tonight? There aren't any more rooms.

JIGSAW

Yes, that is quite all right.

DR. GORDON

Thank you, sir.

They all leave the room as Jigsaw looks over at the man and sees it's one of his co-workers Paul. Paul is unconscious. Jigsaw keeps looking at him for a minute but then lies back down on his bed.

FADE OUT.

INT. JIGSAW'S ROOM, FADE IN.

SCENE X

Zep is with Jigsaw.

JIGSAW

Hello Mr. Hindle.

ZEP

How are you, sir?

JIGSAW

Still there, I think.

ZEP (notices his drawings)

Are these yours? (picks them up)

JIGSAW

Yes, it's not much, but it's something I like to do.

ZEP

These are incredible.

JIGSAW

Thank you.

ZEP

You all right John?

JIGSAW

That man over there works with me.

ZEP

Really?

JIGSAW

Do you know why he's here?

ZEP

They couldn't find any more rooms.

JIGSAW

I mean what is his condition medically?

ZEP

Oh, they say he slit his wrists. His wife found him passed out in the bathroom.

SILENCE

JIGSAW

That man has a wife and two children. Why would he do this to himself?

ZEP

I don't know; what is he like when you work with him?

JIGSAW

He is a very tedious and boring person.

ZEP (laughs)

No wonder.

JIGSAW

A life is not something to be joked about Mr. Hindle. I wasted my life. I wasted my life in the same place that Paul wastes his. I spent my life doing nothing, and now I'm going to lose it. You don't know how lucky you are.

ZEP (looks down, embarrassed)

JIGSAW

Do you know what that's like, Mr. Hindle? Do you know what it's like to think about death every single second of your life?

SILENCE.

ZEP

You know, they're going to start you on chemo today.

JIGSAW

Yeah. I was wondering if you could do me a favor, Mr. Hindle.

ZEP

Anything.

JIGSAW

I want to lose my hair naturally.

ZEP

I'm sorry, I don't follow.

JIGSAW

I want a razor, an electric razor to cut my hair with before they start this process. Can you find one for me?

ZEP

Yeah, it might take a minute. But I'll get you one John.

JIGSAW

Thank you, Mr. Hindle.

ZEP (gets up)

No problem, John.

JIGSAW picks up his pad and pen and continues to draw. The camera, once again continues the slow rotation around him.

FADE OUT.


	4. Part IV: Rememberance and Change

SCENE XI

Doctor Gordon and Zep walk together.

DOCTOR GORDON

Zep, I need you to check in with this girl who overdosed on heroin and I need you to shave Mr. Johnson for surgery.

ZEP

Ok. Can I check on Mr. Kramer first?

DOCTOR GORDON

Look, I don't want you to spend so much time with this patient.

ZEP

His name is John, he's a very interesting person.

DOCTOR GORDON

I don't care how interesting he is Zep; you have more than one patient.

ZEP

Doctor Gordon, I like talking to John and I relate to him and I just need someone to talk to, you know?

DOCTOR GORDON

Let me tell you something about this hospital Zep. In the end it really doesn't matter who you talk to or how close you get to them because in the end half or maybe more than half of the patients that you meet here are going to die. And your friend Mr. Kramer is one of them. So if I were you, I would begin to distance myself from him before he dies so that when he does, you aren't hurt by it. (walks off, Zep goes into Jigsaw's room)

JIGSAW

What happened?

ZEP

Nothing.

JIGSAW

Something happened, what was it?

ZEP

Just some problems I'm having with Doctor Gordon. He thinks he's so much better than me.

JIGSAW

I do not want you to take offense Mr. Hindle, but he is a doctor.

ZEP

Fuck him.

JIGSAW

I can tell you really like him, don't you? (chuckles)

ZEP (sarcastically)

Oh yeah, he's a fucking saint. (laughs, Jigsaw laughs too) Anyways, I got you that razor you wanted. (pulls a box out of his pocket and gives it to John)

JIGSAW

Did you buy this?

ZEP

Yeah.

JIGSAW

You didn't have to do that.

ZEP

I know, but I wanted to.

JIGSAW

Thank you, Mr. Hindle.

ZEP

You aren't going to die, John.

JIGSAW

What did you say?

ZEP

I'm not, there's a chance you can still live through this.

JIGSAW

Tell me, Mr. Hindle, since your knowledge of the medical field knows no bounds, how many people do you know that have actually survived having a cancerous tumor on their brain? (pause) Never tell me that I'm going to live, because you're giving me hope that it's still a possibility, when that possibility is clearly gone.

ZEP (looks down)

I'm sorry. You need me to open that for you?

JIGSAW

No, I can do it myself, thank you.

ZEP

Anything el-

JIGSAW

Good night Mr. Hindle.

ZEP

Are you-

JIGSAW

Good night, Mr. Hindle. (Zep leaves)

INT. BATHROOM

Jigsaw opens the box that holds the electric razor. He takes out the instructions and throws them in the trash can. He takes out the actual razor and turns it on. He lets it run for a few seconds. He looks at himself in the mirror. He holds the razor to his head and begins sheer off his hair. He does this quickly and calmly. After a moment the razor loses power from not being charged. He turns it on again but it runs out of power before he can get it to his head. He only has a little bit of hair left. He sees the charger and takes it out of the box. He drops it back in the box and hits the box off the sink with his hand. He stares at himself again and tries to turn on the razor. He cracks a nervous smile as it doesn't work. He keeps trying but the razor has lost all of its power. He begins to cry a little. He drops the razor in the sink and looks at himself in the mirror again. He really begins to cry as he falls to his knees and then sits down on the floor and begins to cry even harder.

FADE OUT.

INT. JIGSAW'S ROOM

SCENE XII

SCENE XVII

Zep comes into Jigsaw's room once more.

JIGSAW (without looking at him)

Hello Mr. Hindle.

ZEP

Hey, you did it. (pointing at John's now bald head) How did the razor work?

JIGSAW

Well, it ran out of power and I had to wait for it to charge up about half way through.

ZEP

Oh, I'm sorry.

JIGSAW

It's all right, it got the job done.

ZEP

How's the chemo going?

JIGSAW

I don't feel any different.

ZEP

Look, I'm sorry about… earlier.

JIGSAW

Don't be.

ZEP

Do you mind if I sort of vent? I'm sorry, but I need to.

JIGSAW

No, I don't mind.

ZEP

(Zep sits down in a chair) Sometimes I wonder what the fuck I'm doing in this place. I mean shit, I'm never going to make it as a doctor. I've been an orderly for what, two years now? All I ever wanted to do was help people but now I don't know what I want. Why should I care about people when they don't give a shit about me?

JIGSAW

Do you mean the patients or the doctors? (coughs)

ZEP

Both.

JIGSAW

You may think you have no way out, but you do. You have life. People like me in this hospital, our clock is ticking. (turns over and looks at him) We know that we're going to die soon, but we just don't know when. If you knew you were going to die, you would look at things differently, think about things differently and you would savor just about anything that happens to you, because you don't know when that day will come when everything is gone.

ZEP

But I'm not dying.

JIGSAW

Which is why you still have a chance, a chance to change.

ZEP (he looks up at him)

(stands up and looks out the window) You don't understand John. I mean I work here for 14 hours every day, I go home and go to sleep for six and then come back. (faces him) What's the point of doing that?

JIGSAW

You save lives Mr. Hindle.

ZEP

That's fucking bullshit. You know what I do? I give people food, change sheets, pillows, and clean bed pans. That's all I do. That's it.

JIGSAW

Why aren't you a doctor then?

ZEP

Dropped out of med school, I had enough credentials to be an orderly.

JIGSAW

Why don't you go back?

ZEP

Don't have enough money, I had just one chance and one chance only, and I blew it.

JIGSAW

What would you rather do if you couldn't work here?

ZEP

You want to know the truth? I'd rather be dead then having to spend another second in this fucking shit hole.

JIGSAW

Would you really rather die than live?

ZEP

At this point, yeah, I would.

JIGSAW

I find it odd Mr. Hindle that you want to die and yet you're still alive. And yet (coughs) I want to live even though I am going to die. I want something that I can't have but you want something that you can easily have. There really is no reason for me to live Mr. Hindle, I have cancer; but you, you still have that chance, you still have that chance because you're alive.

PAUSE

Zep's beeper goes off. Zep slowly moves backwards and walks towards the door.

JIGSAW

Consider what I've told you.

PAUSE, Zep leaves.

Jigsaw gets up and stumbles a little because he hasn't gotten out of his bed in a while. He pulls up the chair that Zep normally sits in to the window and sits down. He looks out over the city. Fade out.

SCENE XIII

Cut to Jigsaw with a woman inside a house. They are in a small kitchen. Jigsaw is sitting down at the table with a cup of coffee and the paper and his girlfriend is looking out the window.

JILL

How was work today? (John/Jigsaw doesn't respond) Anything exciting happen? (takes a sip of his coffee.)

JIGSAW

Nothing seems to happen there that is very exciting.

JILL

Why don't you just quit if you hate that place so much.

JIGSAW

I just can't leave.

JILL

Why not, why not John? I mean don't do something if you aren't happy doing it.

JIGSAW

I really don't have a choice.

JILL

Of course you have a choice. Just quit, you can always go back to the-

JIGSAW (slams hand down on table)

ENOUGH!

SILENCE, PAUSE

JIGSAW

I'm sorry Jill. You've obviously have something on your mind, what's wrong?

JILL

There's nothing wrong John, I just need more from you.

JIGSAW

What do you mean more?

JILL

A commitment.

JIGSAW

What kind of commitment?

JILL

We've been together for almost a year now John, I mean don't you think we should… I don't know, maybe thinking about really getting serious about this?

JIGSAW

What, this isn't serious to you?

JILL

No it is; it's just that maybe we should be thinking about taking that next step.

JIGSAW

You mean marriage, don't you?

JILL

Yeah, that's what… that's what I mean. It just feels like the right thing to do, I love you John. (pause) I mean if you're not ready I understand, but-

JIGSAW

I don't think you understand me. I can't do this anymore Jill. This whole relationship is a lie. This whole thing that you want is nothing but (he raises his voice) bullshit! (Jill is taken aback) You never really loved me, and I never really loved you. We both needed closure (calms down) and now that I have that closure, there's no reason for this to continue.

JIGSAW

(He gets up and begins to walk out of the room, she remains sitting there crying)

JILL

(John starts to walk out of the room, pause). (Jigsaw stops, but doesn't look at her.) What did I do, what did I do wrong John? Can you just answer me? (John still faces away from her) WHAT THE FUCK DID I DO? (PAUSE) I'm going to kill myself.

They both stand in their respective places. Jigsaw looks away, not looking back. Jill stands there with tears in her eyes. Jigsaw turns around and walks up to her. They stare at each other. He walks to and opens the front door as Jill walks forward to the threshold of the door. John turns around and looks at her, she looks at him. She looks like a nervous wreck, tears in her eyes, and more on the way. He begins to close the door very slowly and the last thing you see is her face as the door closes. John stays at the front door. He looks down, and then up. Cut to Jill as she leans her back against the door inside the house and continues to cry. John stands in his place.

FADE OUT.

CUT TO JAY AND SEAN IN THEIR ROOM, NOT TALKING TO EACH OTHER. SEAN SITS, LOOKING DOWN. JAY REMAINS SUSPENDED IN MID AIR. FADE BACK TO JOHN AS HE BEGINS TO WALK AWAY. HE STOPS AFTER A MINUTE, BUT DOESN'T LOOK BACK AND CONTINUES TO WALK AWAY.

FADE TO JIGSAW SITTING IN THE SAME CHAIR. HE LOOKS DOWN AND THEN BACK AT THE CITY.

FADE OUT.

INT. JAY AND SEAN'S TRAP ROOM

SCENE XV

They both sit there, Sean is facing away from Jay.

SEAN

This is such bullshit.

JAY

Yeah, but what the fuck can we do about it? I mean, we've got nothing, we don't know anything about this shit.

SEAN

There's got to be something though.

PAUSE

JAY

What did that other note say?

SEAN

Nothing.

JAY

Just tell me what the fuck it said.

SEAN

The note… said that if I killed you then he'd let me go.

SILENCE

SEAN

FUCK THIS SHIT! You motherfucker! (looks at the security camera) What the fuck do you want from us you piece of shit?! I never thought it would end like this. I mean one day everything's not great but it's normal, then the next day I'm here in this fucking shit hole. I mean who the fuck would do this to us? Why would anyone do this to us? What sick fuck takes pleasure and watching us just sit here? What are we supposed to do asshole? What the fuck are we supposed to do? I mean it would be great if we fucking knew what we were supposed to do here!

JAY

That's not doing anything.

SEAN

What do you want me to do? Do you have any ideas because I would love to hear them!

SILENCE

Sean sits down next to Jay again. FADE OUT.

SCENE XVI

EXT. STREET

Jay is walking down the street, he sees a girl walking too. He runs up to her.

JAY

Hey.

SISTER

What's up?

JAY

Nothing. So uh… what are you doing out here?

SISTER

Just walking around.

JAY

One of those days, huh?

SISTER

Yeah.

JAY

Can I ask you something?

SISTER

Sure, what?

JAY

Did I do something wrong?

SISTER

What are you talking about?

JAY

Well, I mean you're my sister and everything and you seem to be like, I don't know, you're not around anymore you know?

SISTER

I'm doing things.

JAY

What do you mean you're doing things?

SISTER

You want me to spend like every fucking second with you? (Jay stops, she keeps walking)

JAY

No, it's not that, it's just I never like see you anymore. (Sister stops and turns around)

SISTER

I got to get going.

JAY

Where?

SISTER

I told you I got to do something.

JAY

Well what the fuck is something?

SISTER

Just get out of here.

JAY

No, wait-

SISTER

Look, Jay, I'm sick and fucking tired of you and Sean breathing down my ass all the time.

JAY

Look, we just care about you, all right?

SISTER

If you cared about me you'd leave me the fuck alone. (walks off, Jay stands alone)

FADE OUT

CUT BACK TO THE ROOM, FADE OUT. BOTH HAVE DEPRESSED LOOKS ON THEIR FACES.

SEAN

X marks the spot. What the fuck does it mean? Wait a minute. The fucking clue, the TV, the message said something. It was a clue? Do you remember it?

JAY

FUCK! (in pain)

SEAN

Do you remember it or not?

JAY

I can hardly remember shit right now.

Sean leaps forward at the television but the chain holds him back. He reaches with all his might on his stomach. He begins to cry. He keeps stretching one hand after the other for the TV. It's too far for him though. He stops after a minute, his head drops to the ground.

JAY

Sean.

SEAN (continues to cry on the ground, he beats his fist on the ground and keeps screaming. He gets up and runs over back towards Jay and his chain. He picks up the scalpel again starts picking at his lock again. It doesn't work.)

FUCK! (he throws down the scalpel once more and falls down next to Jay. He pulls at his chains some more and screams.)

SLOWLY FADE OUT.

INT. JIGSAW'S ROOM

SCENE XVII

Zep comes into Jigsaw's room once more.

He lies there with a deathly look on his face. He coughs and then closes his eyes. He turns over again and stares out of the open window. Zep comes in once more.

JIGSAW

You seem tired today, Mr. Hindle.

ZEP

Yeah, it was pretty rough.

JIGSAW

What happened?

ZEP

We had two new patients today, one was a girl who O.D.'d on heroin. The other was a guy who's just under a little stress who doesn't even have a right to be here. He thinks he sick but he's a fucking liar. You can tell nothing is wrong with him.

JIGSAW

Both of these symptoms that your patients are displaying could have been avoided.

ZEP

What do you mean?

JIGSAW

The girl, there is no reason for her to even be on heroin in the first place. The man is not sick and yet he is still admitted to this hospital which means that someone who actually needs to be here might not be because of him.

ZEP

Yeah, but the girl did need to come here, to get treated.

JIGSAW

No, no. It is her own fault that she overdosed on heroin and although she needed to be here to be treated she could have completely avoided it by not even starting to use the drug in the first place.

ZEP

People need a way out John. I mean we all need to relieve stress.

JIGSAW

But do we need to do it in a way that causes pain? Paul and those two other patients do not need to be here at all. They chose to do the things that they did and they are all going to live despite the fact they took their lives into their own hands and risked losing them. I on the other hand am here not because of choice, I never had a choice, it just happened. I have cancer Mr. Hindle and I'm going to die. I'm going to die and there is nothing I can do to stop that. And yet these people all take life for granted. They do not appreciate the gifts or the blessings that they have been given and yet they still do these things that could have killed them without even thinking for a second that there are people like me who are dying and have no way to stop it from happening. Now I ask you Mr. Hindle, why should they live and I die?

ZEP

Look, what can I say?

JIGSAW

There really is nothing to say, Mr. Hindle. I do deem it unfair that these people are going to live and I am going to die.

ZEP

Look, John, I can't imagine what this must be like for you. But if you keep dwelling in this state of mind you're in then you're going to lose it. I mean I know there's not much you can do-

JIGSAW (angrily)

There's nothing I can do.

ZEP

I mean all you do is talk about how these people are just nothing and don't mean anything. You don't know what it's like for them.

JIGSAW

Do you?

ZEP

No, but-

JIGSAW

Then stop talking to me about things you don't know about. While these people's lives may be difficult it all pales in comparison to what is happening to me.

ZEP

What is it with you? Do you think that you're the only person who exists?

PAUSE

JIGSAW

Put yourself in my position, Mr. Hindle. You don't do anything with your life and yet you are obsessed with leaving some sort of legacy, some sort of story that people will talk about after you die. You don't do that and you end up wasting your life and then when you least expect anything wrong to happen, you find out that you're going to die.

ZEP

I've already told you, I can't possibly imagine what this must be like for you. But try to see things in a different light.

JIGSAW

That is easy for you to say.

ZEP

You're not the only person who suffers.

JIGSAW

Never compare your suffering to mine.

ZEP

Right, you're so full of it. What about you, huh? Are you grateful? You pass judgment on others without asking the same question about yourself. You sit here all day and talk about how these patients who you don't even know, are ungrateful to be alive. You are the one who's ungrateful to be alive. You're a fucking hypocrite.

PAUSE

JIGSAW (face turns from sadness to anger)

YOU HAVE NO IDEA WHAT I GO THROUGH!

Zep turns over the table that's close to them and then the chair. He then picks up John's work and tears it apart. He picks up another chair and hurls it across the room.

JIGSAW (as Zep destroys his work)

Go ahead and destroy it, fuel your obsession for hurting the weak and by doing so, you cover up the fact that you are also weak.

Zep, after his tirade falls to his knees with tears in his eyes.

JIGSAW

Tell me, does it make you feel better having completed what you started? Had it been that easy in the medical school you attended, you would have graduated with honors.

ZEP

I'm going to fucking kill you.

JIGSAW

What's stopping you?

PAUSE, Jigsaw sighs.

JIGSAW

You haven't learned anything since you've taken care of me, have you? The whole time I've been here, I saw you as someone I once was. Someone with no purpose, no drive, with nothing, but you are alive and you can change. I chose not to do anything with my life, Mr. Hindle, and look where I am now. I'm dying (coughs, coughs again) and I can't stop it. But I strongly advise you to do something with your life before it's too late, because once it is, you're going to wish that you had; you may not now but you will. You will when you lie on your deathbed and think every second about what you could have done with the precious gift of life that was given to you, that you so shamelessly wasted. I care about you, Mr. Hindle, and now that I see that the last thing that I care about is doing nothing, it saddens me to no end. (Jigsaw looks at Zep and then mutters) Oh, God. (Jigsaw turns away, with tears in his eyes.)

Zep picks up the torn remains of John's work and puts it back on the desk next to his bed. He turns around and looks back as Jigsaw. He opens the door and leaves.

INT. JIGSAW'S ROOM

SCENE XVIII

Doctor Gordon comes in, instead of Zep.

DOCTOR GORDON

How are you doing, John? (Jigsaw doesn't respond) Look I came here to tell you that you're free to go. There's really nothing more we can do for you, and I think that you should use the time that you have left by doing what you want to do. But I still want you to come in once a week, especially if the chronic vomiting doesn't subside.

JIGSAW

I will do that. Where's Mr. Hindle, Doctor Gordon?

DOCTOR GORDON

I don't know; he didn't come in today.

JIGSAW

I see. Will you tell him good bye for me when you see him again.

DOCTOR GORDON

I'll be sure to do that. Do you need anything else, John?

JIGSAW

No. Thank you Doctor Gordon.

FADE OUT

EXT. HOSPITAL

SCENE XIX

Jigsaw gets into his car and sits there for a minute. He turns the keys in the ignition and the car starts. He begins to drive away.

JIGSAW (V.O.) (Charlie Clouser's Shit hole theme begins to play in the background)

(as Jigsaw is driving a voiceover can be heard)

The whole reason that I ended things with Jill was not because I didn't love her, it was because I was already dead, dead on the inside. Knowing that you will die can really change a man. Knowing that you will die makes everything around you stop. (cut to Jigsaw and Gordon) It was in that moment that I decided that the world was an unfair place (cut back to Jigsaw), why should I die (cut to him lying on a bed looking very ill) while others live? (cut to Paul lying on his bed in the hospital) Why should I suffer (cut to him looking really sick), but seemingly no one else? (cut to a close up of Doctor Gordon) It was in that moment I decided that I was going to do something that Jill planned on doing, (he bows his head a little) and that was to kill myself. (Night has fallen and Jigsaw begins to drive on a bridge) Was it fair that Jill should die because of a lie I had told her? (cut to her on her knees crying) Was it fair that the girl who used heroin would continue living out the rest of her life without any purpose? (cut to her) Was it fair that I was going to die while the rest of the outside world lived in there own fairy tales? (cut to Jigsaw in an office building looking out over the city) Was it fair that any of those people (cut to Paul, Mark, Zep) that they should continue living after being so ungrateful to be alive? I knew that there was no reason to continue living a life that had no more meaning. (pause, as we view Jigsaw's face from a profile view. He keeps driving (no music) After a moment the car shakes violently, after lots of shaking, cut to black, pause) No, nothing was fair which is why when I realized I'd survived my suicide attempt, unlike the other people in this city, I was reborn. (music returns) (cut to Jigsaw's eyes opening, he begins to breathe hard as he crawls out of his car with blood all over his body from the crash) I was transformed into someone with just one sole purpose. (cut to Jigsaw sewing his robe) And that purpose was to teach others the value of life. (he crawls down the street clutching his stomach) To test the fabric of human nature. (Cut to him as he flings his robe across so it covers the camera) One day they will be living their lives, unfulfilled and wasted. (cut to Mark walking down the street)The next day they will be staring death right in the face. (cut to Mark screaming in pain) I knew that there was really no explanation for the things that happen in life, but there are explanations for the things that you can change; (cut to Jigsaw standing up in his warehouse) and I changed on that day. I knew that my life had more meaning than almost anyone who had ever taken a single breath. I knew the cancer that was slowly ending my life was there, but it didn't hurt me, in fact it made me stronger, gave me focus. (cut to him putting on his robe, sleeve by sleeve.) I would be the one everyone remembered (pause, cut to him standing up with robe on) as someone who changed lives. (he slowly dawns his hood and stares straight ahead) (fade out/black)


	5. Part V: The Final Struggle

INT. HOSPITAL

SCENE XX

Zep walks through the crowded halls and then goes into Jigsaw's room. Jigsaw is gone, obviously. Zep begins changing the sheets and pillows etc. He drops a pillow on the ground and reaches down to get it. It lands near the bed. Zep bends over to get the pillow. Once his face is close to the bottom of the bed a figure leaps out from under the bed with a needle and sticks him with it. Zep stumbles backward, falls to the ground and passes out with in a moment of seconds. FADE OUT.

FADE IN.

Zep lies on his back. His eyes open and he begins to cough. He gets up and stumbles around. He falls on to the bed and stays there for a minute, not really realizing what is going on. He sees a tape recorder lying on the bedside table. He picks it up and examines it. He coughs again. He hits play on the tape recorder.

JIGSAW/BILLY (RECORDING)

**Hello Mr. Hindle. Or as they called you around the hospital: Zep. I want you to make a choice. There is a slow acting poison coursing through your system which only I have the antidote for. Will you murder a mother and her child to save yourself? Listen carefully if you will, there are rules.** (the tape stops)

ZEP (all he can do is look at the tape with fear)

A FIGURE EMERGES UNDER THE BED CLOAKED IN BLACK. THE FIGURE SLOWLY STANDS ABOVE ZEP. HE IS ENVELOPING THE SENSE THAT HE IS PURE EVIL. ALL ZEP CAN DO IS WATCH IN FEAR AS THE MYSTERIOUS DARK FIGURE SEEMINGLY TOWERS OVER HIM.

ZEP

Who are you? WHO THE FUCK ARE YOU?

JIGSAW

Do not be afraid, Mr. Hindle.

ZEP

John? John is that you?

JIGSAW

I was your patient, now you will become mine.

ZEP

What the hell are you doing to me?

JIGSAW

I am giving your life a purpose.

ZEP

What do you mean? (scared, shaken) What the fuck is this about?

JIGSAW

The recording has already stated what I have asked of you.

ZEP

A mother and her child?

JIGSAW

Doctor Gordon's wife and daughter.

ZEP

No, no I won't do it. Please, please don't do this to me.

JIGSAW

I have done nothing to you, Mr. Hindle.

ZEP

What are you talking about? You came in here and just- (coughs) And now I've got this sickness, what is this?

JIGSAW

It is your inspiration for what you need to do. I am giving you something you've always wanted, Mr. Hindle. I'm giving you power over others. A certain longing for control that you've always wanted.

ZEP

WHY THE FUCK DID YOU DO THIS? (begins to shake)

JIGSAW

I want to teach you what I have learned. I have learned why I still exist on this earth. I killed myself, Mr. Hindle, I killed myself and was reborn.

ZEP

What are you talking about? (pathetically)

JIGSAW

Four weeks ago, the day I left the hospital; I drove my car off a cliff trying to end my life. (pause) When I came to, I was not dead, and it became all to clear what my purpose was in the little time that I have left. I knew what I must do, I must take those that do not value their lives and have them prove to me whether or not they are grateful to be alive. To have them endure the suffering that I have endured and to be reborn as I have been.

ZEP

But why me, what do you want?

JIGSAW

Nothing, you've done nothing with the life that has been given to you.

ZEP

But why Gordon, I don't care about him or any of this.

JIGSAW

Gordon is everything you want to be. He is a successful doctor with a wife and a daughter. Something you've longed for, for far too long.

ZEP

He's nothing like me.

JIGSAW

He, like you, does not value his life; he does not appreciate the blessings that he has been given. Doctor Gordon has the loving wife, the beautiful daughter, but he does not appreciate the fact that they are his, ironically he won't care about them unless their lives are threatened, only then will he realize their worth. You, Mr. Hindle, you do not have the advantages that Doctor Gordon has but you could if you tried.

ZEP

That's bullshit.

JIGSAW

If you had applied yourself at the medical school that you attended you wouldn't be in the position that you're in right now. (Zep continues to shake) You are a very important part of this game Mr. Hindle, more important then you know.

ZEP

You think killing people is a game?

JIGSAW

I am not going to kill anyone Mr. Hindle. You might not have to either, but for now, don't forget the rules.

ZEP

There are other people in the same condition as you're in and you don't see them doing what you're doing. Just because you're going to die doesn't mean that you can do this.

JIGSAW

The cancerous tumor that is killing me is not the reason that I've started doing this.

ZEP

Give me one reason why I shouldn't kill you.

JIGSAW

You can't kill me, Mr. Hindle.

ZEP

I don't care if I die. I told you I don't care and I meant it.

JIGSAW

I beg you to reconsider that. (slowly pulls something out of his robe)

ZEP (gets up)

Jigsaw quickly points the object in his hand at Zep, Zep is electrocuted. Zep drops to the ground and goes into a convulsion. After about ten seconds Zep stops convulsing and begins to breathe hard. He can't really move. Jigsaw walks over to him. He bends over close to Zep.

JIGSAW

The device you are wearing is embedded into your skin. If you find the device and try to remove it, then the electric shock that you have just felt will automatically occur.

There are more things that you will need to know that I will not utter here. I will find you when I need you Mr. Hindle, you can be assured of that. Just know that if you try to notify the authorities or anyone of what has happened to you, it will not make a difference in your fate. (he gets up and walks towards the door and opens it, he looks back at Zep) Let the game begin. (he closes it and leaves him there)

SCENE XXI

INT. JIGSAW'S ROOM, PRESENT TIME.

Jigsaw is still staring at himself in the mirror. Remembering everything we have just seen. He sits back down at his desk and pulls out a tape recorder. He opens it and takes the tape out. He holds the tape and the tape recorder, one in each hand. He drops both of them. He knocks many things off of his desk. He walks over to a bed that's in the room and sits on it. He puts his head in his hands and sits there for a moment. He takes his hands off of his face.

JIGSAW

Why? (he hits the bed with both of his hands) Why? Why? (hits the bed again) Why? (he begins to cry a little bit) Why? (hits the bed again and gets up) Why? (walks back over to his desk) Why? (throws some more things off of his desk) WHY? (throws more things off of his desk) WHY? WHY? (stands and screams) WHY? WHY? (SCREAMS)

CUT TO A CLOSEUP OF JIGSAW, FADE OUT. FADE TO BLACK.

INT. SEAN AND JAY'S TORTURE CHAMBER.

SCENE XXII

IT'S NOW 3:40. SEAN IS STILL CRYING ON THE GROUND FACE UP. JAY JUST "SITS" THERE. JAY LOOKS UP AND SEES THAT IT'S 3:40.

JAY

Fuck.

SEAN (looks up)

What? What is it this fucking time?

JAY

It's 3:40.

SEAN (Stands up, looks at the security camera)

FUCK YOU, YOU FUCKING ASSHOLE!

Cut back to them.

JAY (looks at Sean, Sean's eyes are closed. He sees two X's on Sean's eye lids. Zoom in on his eye lids. Jay's eyes widen as he realizes what is happening.)

JAY

Sean, your eyes.

SEAN

What about my eyes?

JAY

They have…

SEAN

Have what? (hysterical)

JAY

There are X's on your eyes.

PAUSE

SEAN

The keys. My eyes. (really hysterical, cut to close up of his eyes. They are extremely blood shot and there are tears flooding out of them. He blinks. He blinks again. His eyes go over to the right. (cut to the beginning of the film where Billy looks at them for the first time. (puppet) Cut to Sean reading the note, focus in on the words "Kill your brother." Then cut to the words, "I'll give you a clue, it's one of the most important things that both of you possess." Cut to Jay wrapping something around his arm. Cut to him with a needle, about to shoot up heroin. Cut to present time.) Sean looks over at Jay and sees for the first time two X's on each of his hands. Sean slowly looks up in disbelief. He sees the scalpel. He can't reach it. He flops on his stomach again trying to reach it.)

No, no. (SCREAMS) NO! (screams again) NO, NO, NO, NOOOOO! NOOO! NOOOOO! NO!

His hand is inches away from it. He can touch it but can't quite get it. He reaches again and can't get it. NO! (his head falls to the ground)

JAY

Sean.

SEAN

NO! NOOOOO! NO! (he takes off his shirt and tries to use it to get to the scalpel, he gets the scalpel and brings it to him.)

JAY

What are you doing?

SEAN

I've got to cut your fucking hands off!

JAY (screams)

What are you talking about?

SEAN

THERE ARE X'S ON YOUR FUCKING HANDS! (HE RUNS OVER TO JAY AND BARBARICALLY SHOVES THE SCALPEL THROUGH HIS HAND. JAY SCREAMS. SEAN IS SEEMINLGY POSSESSED AS HE DIGS DEEPER UNTIL THERE IS A HUGE HOLE IN JAY'S HAND. A KEY FALLS OUT OF IT. JAY WRITHES IN PAIN. SEAN QUICKLY GOES TO THE OTHER SIDE AND CUTS A WHOLE INTO JAY'S OTHER HAND. JAY SCREAMS AGAIN AND STARTS CRYING FROM THE PAIN. ONCE AGAIN A KEY FALLS OUT, AFTER SEAN KEEPS "DIGGING." JAY SCREAMS LOUDER. SEAN PICKS UP ONE OF THE KEYS AND TRIES ONE OF JAY'S LOCKS, TRIES ANOTHER AND ANOTHER BUT ONLY THE LAST ONE WHICH HOLDS ONE OF HIS FEET OPENS. JAY DROPS A LITTLE LOWER OUT OF HIS TRAP, AND SCREAMS AGAIN. SEAN THEN PICKS UP THE OTHER KEY AND PUTS IN HIS LOCK, IT DOESN'T WORK. He puts the key into Jay's right foot lock, it unlocks Jay drops to the ground but his hands are still suspended. HE PICKS UP THE BLOODY SCALPEL.

SEAN

LOOK AT ME!

JAY (screams in pain)

I CAN'T!

SEAN (grabs him by the neck)

LOOK AT ME!

Jay looks at him.

SEAN

You've got to tell me where the keys are when they fall out. (STILL HYSTERIC)

JAY

No, Sean! There has to be another way. (grabs his own hands in pain)

Sean starts screaming as loud as he can. He breathes very hard and keeps screaming. (cut to close up of his eyes as they widen as you can see the reflection of the scalpel off of them. Cut back to normal shot.) He screams then breathes screams then breathes. He finally just screams and shoves the scalpel right into his left eye. He screams from the pain as blood shoots out his eye like water out of a faucet. He bends over in pain, Jay watches petrified with pure terror.

Sean screams even more. Blood is all over his hands from his eye. Half of his eye is on the ground the other half is still in his eye socket. He digs the scalpel back into his eye socket and can feel the key with it. He rips out his eye and the key falls to the ground. HE SCREAMS LOUDER THEN HE EVER HAS. Cut to Jay as he screams too. Sean screams as he reaches down and picks up the key. His hand is covered with blood. He walks forward and tries to put the key in the lock but can't do it. He is getting groggy from his blood loss and just overall shock. He tries to put the key into another lock and does, he turns the key, it works. Jay's hand falls out of the lock. Jay screams from the pain, still. Sean collapses on the ground and screams again. Blood is still pouring out of his eye socket.

SEAN

You've got to get the other key out of me. I can't do it. Not again.

JAY

No, Sean, no.

SEAN (weakly)

Listen… listen to me. I'm going to bleed to death. You've got to… you've got to save yourself. Here, (he hands him the scalpel.) Do it.

JAY

I can't.

SEAN

YOU HAVE TO!

(Sean gets right in front of him. The eye socket still pouring out blood.)

Jay takes the scalpel, he winces in pain.

JAY

I CAN'T.

Cut to Jay, Cut back to Sean. Cut to Jay as he raises the scalpel with both of his hands. Cut back to Sean.

SEAN

If you don't we'll both die!

Jay screams and shoves the scalpel inside Sean's eye socket. Sean recoils back and falls to the ground. Jay starts to cry because of the shock.

JAY

SEAN!

Sean writhes in pain below.

JAY

SEAN!

The scalpel is still in his eye socket. Sean pulls at it. He screams as it eases its way out. He screams as loud as he has ever screamed in his entire life; blood starts to come out from his eye. He gives it one final tug and pulls it out. He screams. Jay screams. Sean collapses to the ground. He screams and cries in agony, Jay looks over, petrified.

SEAN

(THE key falls out and Sean falls to his knees and cries. There is a pause. Sean slowly turns around to face Jay, both eyes gone.) Jay, where's the… where's the k- key?

JAY

To… to your right. (Sean gets up and then collapses on the ground once again and starts feeling around for it. He finally gets it.)

SEAN

Where are you? JAY WHERE ARE YOU?

JAY

Keep going straight ahead.

Sean crawls over to Jay. He feels around and finds his foot. (cut to the clock which now reads 3:55) Sean grabs his foot and holds on and sounds like he's crying as he is now totally and completely blind.

(Sean shakily holds his hand up. Jay grabs the key and unlocks the shackle holding his right hand. Jay is free. Jay falls to the ground. Sean is very pale.)

Sean screams and cries so does Jay. Jay, now free, goes up to Sean and hugs him. Sean grabs a hold of him and hugs him. All they do is cry and hold each other for a while.

JAY

We did it. We won.

SEAN

No we haven't. (pan down to Sean's ankle as it is still caught in the shackle of the chain. The shackle it is still connected to Jay's chain but another chain connects it to the wall.)

JAY

(cut to the clock it reads 3:56)

The other key? Where's, where's the other key?

Cut to the security camera watching them, a part of the camera starts to flash red. The TV screen lights up. Billy the puppet turns its head at Jay and Sean.

BILLY/JIGSAW

**Hello Jay, Hello Sean if you are watching this tape, then you are very close to winning this game. You might be asking yourselves where the other key is, I'll tell you. The key is in the room three doors away from your cell. But don't waste your time, you don't have very much of it left.** (The TV turns off)

SEAN

Get the fuck out of here!

Jay gets up and stumbles forward from not walking for a while. He reaches the threshold of the door and looks back at his brother as Sean crawls around, blood still pouring from his eye sockets.

Jay runs out, pan back over to Sean as he screams in pain some more and then falls to the ground and makes pathetic sounding crying noises. Fade out as Sean lies there.

CUT TO JAY

SCENE XXIII

He looks behind him and then looks in front. He sees the third door, its open he walks into the room. The clock on the wall reads 3:55.

There is a body on the ground, it is a girl, her head is covered with a bag. On the bag there is a question mark. (?) There is a table in the room, on the table there is a knife There is also a TV. On the TV there is a sign that reads, "PLAY ME." Jay runs over and hits the power button. He rips the sign off after he hits the button. (Charlie Clouser's shit hole theme plays again and plays until the film is concluded) Cut to Sean in his room as he lies there. His TV turns on as well. Sean sits up and directs his head towards the noise. Billy the puppet turns his head. There is a coffin in the right hand corner of the room.

JIGSAW/BILLY

**Jay, Sean, this is your final test.** (cut back to Jay) **The key to Sean's chain is inside your new cellmate's eye. In order to get the key, just use your imagination. There is a person in that coffin, Jay. The same key will unlock the coffin. Will you save her, too? Or you could leave, and continue living out the rest of your life knowing that you could have made a difference, but never made the effort to. **

The TV turns off.

Jay grabs the knife and looks at the body. He drops to his knees. He stares at it for a while and closes his eyes and then rips off the bag. It's his sister, Amanda. The camera zooms straight into Jay's eye as a flashback sequence begins.

SEAN

You've never been the same since our sister left.

JAY

She meant everything to me.

SEAN

You're going to end up just like her.

JAY

You don't understand.

SEAN

She was my sister, too.

JAY

She meant everything to me.

CUT TO JIGSAW AND ZEP

ZEP

This one O.D'd on heroin. Her name's Amanda Young. (the camera moves slowly revealing her face, cut to Jigsaw as he looks at her. Cut quickly to a close up of Jigsaw's hand holding one of the large envelopes, he puts it into the drawer. It says, "Amanda" on it.

Cut to a figure dragging Amanda down a deserted hall way, Amanda is unconscious. The figure opens the door and puts her in the room.

The lights in the room turn off. The door shuts. CUT TO BLACK

CUT BACK TO PRESENT TIME.

SCENE XXIV

JAY (cut to the clock it turns to four, the huge metal door begins to close. Jay quickly looks over at the door)

NOOOOO! NOOO!

(CUT TO SEAN)

SEAN (Sean's door begins to close, he hears it)

NO! (he stands up, but falls down again and blindly searches for the door) NO!

JAY! NO! JAY! YOU FUCKING BASTARD! (as he crawls the chain pulls at his ankle and he is restrained. He screams)

Cut back to Jay, he picks up Amanda and runs to the door. He tries to run through it but it's not big enough for him. He throws Amanda through the small crack in the door. And then tries to fit through it but his leg gets caught in the door. The door begins to crush his leg. Jay screams. He tries to get his leg out but can't. Jay screams as his left foot has been twisted/cut off by the huge door closing. Jay falls back. His foot is gone.

Jay screams in pain.

The TV comes on again.

JIGSAW/BILLY (only his voice is heard)

**If you two are hearing this message then you have failed your test**. (Jay holds his footless leg in pain and screams/cries.) **Your sister was where everything started, your sister caused you all the pain and suffering that you have endured on this day**, (cut to Sean who screams at the top of his lungs) **your sister is the reason that you two will now die in this place. Now that you've failed, I won't hesitate to tell you that your mother is also with you. **(zoom quickly over to the coffin)Cut to Jill and John sitting at their kitchen table together and John asking, "I'm sorry Jill, you obviously have something on your mind, what is it?" Cut to the woman in the coffin at the beginning of the film and her ripping the tape recorder off the wall, and the tape recorder saying, "Hello Jill, I want to play a game," rather than bleeping her name out like before. Cut to her face as the tape recorder says the word, "Jill." Cut to John and Jill holding each other) **Now you shall pay a price, (**cut to Sean screaming)** a price for living for nothing. GAME OVER!**

Cut to Jay who holds his ankle and screams. Cut to Jill screaming. Cut to close-up of Sean, eyeless, screaming.

CUT TO THE DOOR OF THE ROOM JAY IS IN, NOW CLOSED.

PAN FROM JAY'S DOOR TO AMANDA'S UNCONSCIOUS BODY, STARTING FROM HER FEET AND STOPPING WITH A PROFILE VIEW OF HER FACE.

FADE TO BLACK. YOU CAN STILL HEAR JAY AND SEAN SCREAMING FOR A COUPLE MORE SECONDS.

THE END


End file.
